Pencil Abstract Prints

Jim Dine Untitled from the Castelli Sonnabend Collection, 1973 Screenprint on rag paper in original portfolio sleeve Hand signed and numbered 158/300 by Jim Dine on the front. Printe...

Kenneth Noland Untitled Target, 2004 Lithograph on hand made paper with deckled edges Signed and numbered in pencil from the limited edition of 75 on the lower front; bears the artis...

Frank Stella Line Up, from Jasper's Dilemma (Axsom 85), 1973 Lithograph in colors on J. Green mould-made paper Signed, dated and numbered 56/100 in pencil lower right front 16 × 22 i...

Natvar Bhavsar Untitled mid 1960s abstraction, 1967 Silkscreen Pencil signed, dated and numbered 10/30 by Natvar Bhavsar on the front Frame included: Elegantly framed in a museum qua...

Larry Zox Untitled IV, ca. 1979 Pochoir on Arches Paper with Deckled Edges. Hand signed and annotated Printers Proof in pencil on the lower front. 28 1/2 × 22 1/2 inches Unframed Thi...

Kerry James Marshall May 15, 2001, 2003 Four color silkscreen on Arches 88 paper Pencil signed, dated and numbered 39/60 on the front. Bears printer's blind stamp Vintage frame incl...

Frank Stella Plutusia, from Imaginary Places II (Axsom & Schnitzer, 246), 1996 52 color lithograph, screenprint, etching, aquatint, relief, mezzotint, engraving on white TGL handmade...

Robert Motherwell Roots of Abstract Art in America, from the VIP hand signed limited edition, 1966 Lithograph and offset lithograph Pencil signed and numbered 46/100 on the front Fra...

R. B. Kitaj Femme de Peuple II (hand signed and inscribed to poet Robert Duncan), 1978 Offset Lithograph (hand signed and inscribed to poet Robert Duncan) Hand signed and inscribed o...

Richard Anuszkiewicz Annual Edition, 1970 Silkscreen on Masonite Signed and dated in graphite pencil lower right recto. Edition of 100 8 × 5 1/10 × 1/5 inches Unframed Signed and dat...

Ed Ruscha, Billy Al Bengston, Ed Ruscha and Billy Al Bengston Zapata-Tiempo, hand signed by both Ed Ruscha and Billy Al Bengston, 1988 (Engberg & P. 168), 1988 Color etching and aqua...

"Floating Panel" - Realistic Hand Painted Lithograph Lithograph with hand-painted ribbons by Patricia Pearce (American, b. 1948). In this composition, the pane with four bars is a l...

Frank Stella (Whitney Museum Exhibited) Shards IVA (Axsom 151), 1982 Lithograph & Silkscreen on Arches Cover Paper (Whitney Museum exhibition label verso of frame) 45 1/2 × 39 1/4 in...

Untitled Abstraction Graphite on paper, c. 1945 Signed on image left of center Condition: Excellent Sheet/Image size: 9 7/8 x 14 1/8 inches Provenance: Estate of the Artist ...

Nancy Graves 5745, for the Jewish Museum, 1984 Silkscreen on paper Signed, numbered 5/90 and dated in graphite pencil on the front; bears publishers' blind stamp front left corner 3...

John Muench at Joan Whitney Payson Gallery of Art (Signed by John Muench), ca. 1982 Offset lithograph poster (Hand signed by John Muench) Hand-signed by artist, Pencil signed by John...

Françoise Gilot Window on Another Dimension, 1981 Lithograph on Arches mould made Johannot paper Signed and numbered in graphite pencil; also bears artist's monogram with date, edition of 60 Frame included: floated in the original vintage frame Measurements: Framed 30 inches vertical by 22 inches horizontal by .75 inches depth Artwork: 27.25 inches by 19.75 inches Francoise Gilot was not just Picasso's muse; she was an accomplished artist in her own right, and at age 100, the New York Times dubbed her the art world's latest "It Girl".! Signed and numbered in graphite pencil; also bears artist's personal monograph with date. Held in original vintage frame under plexiglass. Charmingly, there is a sticker label on the back of the frame, from the "Picasso Gallery Custom Framing" in D.C. This silkscreen is based upon Gilot's eponymous painting, also done in 1981 Excerpt from Alan Riding's 2023 New York Times obituary on Gilot: " Françoise Gilot, an accomplished painter whose art was eclipsed by her long and stormy romantic relationship with a much older Pablo Picasso, and who alone among his many mistresses walked out on him, died on Tuesday at a hospital in Manhattan. She was 101...But unlike his two wives and other mistresses, Ms. Gilot rebuilt her life after she ended the relationship, in 1953, almost a decade after it had begun despite an age difference of 40 years. She continued painting and exhibiting her work and wrote books. In 1970, she married Jonas Salk, the American medical researcher who developed the first safe polio vaccine, and lived part of the time in California. Still, it was for her romance with Picasso that the public knew her best, particularly after her memoir, “Life with Picasso,” written with Carlton Lake, was published in 1964. It became an international best seller, and so infuriated Picasso that he broke off all contact with Ms. Gilot and their two children, Claude and Paloma Picasso. Ms. Gilot’s frank and often-sympathetic account of their relationship — she dedicated the book “to Pablo” — provided much of the material for the 1996 Merchant-Ivory movie, “Surviving Picasso,” in which she was played by Natascha McElhone, with Anthony Hopkins as Picasso. If Ms. Gilot’s book sold well, so has her art. With her work in more than a dozen museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Centre Pompidou in Paris, her paintings fetched increasingly higher prices well into her later years. As recently as June 2021, her painting “Paloma à la Guitare” (1965), a blue-toned portrait of her daughter, sold for $1.3 million in an online auction by Sotheby’s. That surpassed her previous record price, $695,000, paid for “Étude bleue,” a 1953 portrait of a seated woman, at a Sotheby’s auction in 2014.. And in November 2021, her abstract 1977 canvas “Living Forest” sold for $1.3 million as part of a retrospective of her work at Christie’s in Hong Kong. Lisa Stevenson, the head of curated sales for Sotheby’s in London, told ARTnews after the 2021 auction, “It isn’t commonly known that Gilot’s commitment to art was present long before her relationship with Pablo Picasso, and she was sadly often left in his shadow.”.. Marie Françoise Gilot was born into a prosperous family on Nov. 26, 1921, in Neuilly-sur-Seine, a suburb of Paris, the only child of Emile Gilot, an agronomist and chemical manufacturer, and Madeleine Renoult-Gilot. Her 19th-century ancestors had owned a couturier house of fashion whose clientele included Eugenia, the wife of Emperor Napoleon III. Marie Françoise was drawn to art from an early age, tutored by her mother, who had studied art history, ceramics and watercolor painting. Her father, however — recalled by Ms. Gilot as an authoritarian who had forced her to write with her right hand, though she was left-handed — had other ideas. Envisioning a career in science or the law for his daughter, he persuaded her to enroll at the University of Paris, where she received her bachelor’s degree in 1938 at age 17. She went on to study at the Sorbonne and the British Institute in Paris and receive a degree in English literature from Cambridge University. As war crept closer to France in 1939, her father sent her to the city of Rennes, northwest of Paris, to enroll in law school. All the while she continued working on her paintings. Then came the German occupation of Paris, in June 1940, and she joined other students in an anti-German protest march at the Arc de Triomphe. In a clash with the French and German authorities, Ms. Gilot was arrested, briefly detained and put under watch. “From day one, we were not the kind of people who would become collaborators,” she said of her family. She continued her law studies at the University of Paris, but after taking her second-year examinations, in June 1941, she lost interest and abandoned the field, deciding to devote herself to art. She began private lessons with a fugitive Hungarian Jewish painter, Endre Rozsda, and attended classes at the Académie Julian, which numbered Matisse...

Robert Indiana The American Love (Sheehan, 76), 1972 Color silkscreen on heavy white wove paper 25 1/2 × 19 3/4 inches Editions A/P-7 of 35, aside from t...

Roy Lichtenstein 1970-1980 (Hand Signed and dated by Roy Lichtenstein), 1981 Offset lithograph. Hand signed and dated in ink Hand-signed by artist, H...

Louise Nevelson Night Reflections, 1968 Silkscreen on wove paper Hand signed by the artist in ink and graphite pencil on the lower right front and numbered 17/100 lower left Bibliogr...

Frank Stella Les Indes Galantes V (Axsom 90), 1973 Lithograph on J. Green mould-made paper Pencil signed, dated and numbered AP 13/20 by Frank Stella on the front 16 × 22 inches Unfr...

Richard Smith Bramble, 1970 Lithograph on wove paper Signed, numbered and dated 10/75 in pencil lower left Frame included: held in original vintage period frame Pencil signed, dated ...

Sam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums & institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...

Robert Petersen Eight of Hearts, 1989 Mixed media silkscreen with hand applied acrylic on paper with deckled edges Hand signed, numbered 6/21, dated, and inscribed on the front Unique variant - each example from the edition unique Frame Included: floated and framed with a beveled edge in original wood frame Robert Petersen was Rauschenberg's longtime friend and collaborator. This mixed media silkcreen with hand coloring was published by Castelli graphics. Inscription reads as follows: For Joe & Mary 6/21 R.P. 89 Measurements: (frame) 16 5/8 x 14 5/8 x 1 1/2 inches (sheet) 6 5/8 x 5 inches Retired oncologist Dr. Joseph Bottini and his wife Mary were friends of the artist, and this work was acquired from their collection. Hand signed, numbered, dated, and inscribed on the front. (unique variant - with hand coloring). Robert Petersen was Rauschenberg's longtime friend and collaborator. This mixed media silkcreen with hand coloring was published by Castelli graphics. Inscription reads as follows: For Joe & Mary 6/21 R.P. 89 Measurements: (frame) 16 5/8 x 14 5/8 x 1 1/2 inches (sheet) 6 5/8 x 5 inches Retired oncologist Dr. Joseph Bottini and his wife Mary were friends of the artist, and this work was acquired from their collection. More about Robert Petersen: Robert Petersen was born in 1945 in the small farm town of Le Mars, Iowa and was raised there until 1952 when he moved with his family to Whittier, California. His education as an artist began in 1963 at Fullerton Community College where his interest in architectural drafting led him to develop a passion for drawing, painting, and printmaking. In 1966, he pursued his love for printmaking further at California State University, Long Beach under the former Tamarind Lithography Workshop printer, Robert Evermon. In 1969, Petersen went on to work as an assistant printer at Gemini G.E.L. where he printed editions for Frank Stella, Roy Lichtenstein, and Robert Rauschenberg. Most notably, Petersen served as one of the head printers for Rauschenberg's Stoned Moon series, during which the two formed a close friendship. In late 1970, Rauschenberg invited Petersen to live and work with him on Captiva Island, Florida, which had recently become the artist's permanent residence and studio. In 1971, Rauschenberg and Petersen...

Billy Al Bengston Cockatoo AAA Dracula, 1968 Lithograph , Zinc and Aluminum, in Silver-Violet, Yellow, Two Grays and Orange on uncalendered Rives paper Frame included signed faintly ...

Bridget Riley Print for The Chicago 8, from Conspiracy: The Artist as Witness (Schubert, 15), 1971 Silkscreen on 100% handmade rag paper Signed and numbered 110/150 and dated i1971 n graphite on the front also bears the printer's distinctive blind stamp Frame included: Work is elegantly floated and framed in a handmade white wood museum frame with Tru-vue Optium acrylic glazed plexi (the highest quality). Measurements: Framed: 25.75 inches vertical by 19.75 inches horizontal by 2 inches Artwork: 24 inches vertical by 18 inches horizontal This is one of the most celebrated and coveted silkscreens Bridget Riley ever made. Not too many Bridget Riley graphic works from this period are on the market. Original Op Art three color silkscreen on 100% handmade rag paper from the early 1970s -- the most desirable and collectible era -- by internationally renowned British abstract Op artist Bridget Riley, one of the leading artists of her generation - and one of the most bankable living female artists in the world. Hand signed, numbered and dated on the lower recto from the limited edition of 150. Also, the verso lower left features printed copyright stamp of the artist, with date: Copyright © 1971 and Bridget Riley Printer's distinctive blindstamp (Kelpra Studios London)with unique inventory number, verso lower right. Riley burst onto the international art scene in the mid Sixties, after being chosen to participate in the groundbreaking “Responsive Eye” exhibition at the Museum of Modern Art, alongside artists like Richard Anuszkiewicz, Yaacov Agam and Victor Vasarely - announcing the the ‘arrival’ of Op Art to the world. This stunning work was proofed under the supervision of the artist and printed by hand at Kelpra Studio Ltd., London, England. "Print for Chicago 8" was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 (who later became the Chicago 7) a group of anti...

April Gornik Remember the Sabbath Day (The Fourth Commandment), 1987 2 Color Lithograph on Dieu Donne handmade paper with deckled edges 24 × 18 inches Signed and numbered AP 12/15, a...

RETNA Madre (Mother), 2023 Silkscreen and crystallina (diamond dust) on Coventry rag paper Hand signed and numbered by RETNA from the limited edition of only 75 on the front (42/75) ...

Thelma Appel The Magician, 2018 18 Color Silkscreen on 320 gram Coventry Rag paper with deckled edges; accompanied by artist signed COA Signed twice: Pencil signed, titled and number...

Jackie Ferrara Untitled, from the Atelier International Portfolio, 1986 Hand Colored Etching on paper with deckled edges. Publisher's and Printer's Blind Stamps. Hand Signed. Numbere...

Niki de Saint Phalle I Rather Like You A Lot You Fool, 1970 Silkscreen on wove paper Signed and numbered 74//75 in graphite pencil on the front Frame included Signed and numbered 74//75 in graphite pencil on the front A delightful and clever work. The text reads: I Rather Like You A Lot You Fool Not much Hair Crooked Nose You are not very rich You’re not terribly intelligent You smoke too much pot You are lazy A bit crazy But I like the way you touch me I like the way you look at trees and flowers I like the way you look at me You found the key to my heart This work is elegantly floated and framed in a museum quality white wood frame with UV plexiglass Dimensions: Framed 23.5 vertical by 28.5 by 1.5 inches Artwork: 19.5 by 25.5 inches "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles... Her Nanas, bold, sexy sculptures...

David Hockney, Bridget Riley, Joe Tilson, Howard Hodgkin, Peter Blake + 99 artists Visual Aid for Band Aid - designed, and hand signed and annotated by 104 renowned artists, with official signed COA, 1985 Large olor silkscreen on velin Arches 300 gsm paper with publishers' blind stamp and COA Signed and annotated in various inks and pencil by all 104 artists listed in the official publishers' COA affixed to the back of the frame; numbered 215/500 Publisher Coriander Studio, United Kingdom Frame included: Floated and framed in a wood frame under UV acrylic glazing Measurements: Framed: 59.5 inches (vertical) by 39 inches (horizontal) by .75 inches (depth) Artwork: 48 inches (vertical) by 36 inches (horizontal) Some of the 104 renowned visual artists who signed and annotated this print in pencil are: Bridget Riley, David Hockney, Peter Blake, Allen Jones, Eduardo Paolozzi, Elisabeth Frink, R.B. Kitaj, Richard Hamilton, Howard Hodgkin, Joe Tilson, Patrick Heron, Paula Rego, Terry Frost, Patrick Caulfield, Craigie Aitchison...

John Newman (b.1952) Color Double, 1990 Color Lithograph Signed, annotated, and dated in graphite pencil on the front. Edition of 2 (PP II, aside from the regular edition of 32) 27 × 19 3/4 inches Unframed A rare signed Printers Proof, aside from the regular edition of only 32 John Newman received his Masters of Fine Arts degree from the Yale School of Art...

Keith Sonnier Untitled post Minimalist lithograph, 1981 Lithograph on watermarked paper with publishers blind stamp Pencil signed, numbered 96/200 and dated on the front Published by...

Keith Sonnier Untitled sculptural image, 1981 Lithograph on wove paper Signed, numbered 156/200 and dated in graphite pencil on the front Published by Waterstreet Press with blind st...

Keith Sonnier Untitled sculptural lithograph, 1981 Lithograph on watermarked paper Signed, numbered 159/200 and dated in graphite pencil on the front Published by Waterstreet Press ...

Malinda Beeman Steven's Carnage, from the Art Against AIDS Portfolio, 1988 Lithograph on paper with deckled edges. Hand signed. Numbered. Titled. Printer's and Publisher's Blind Stam...

Imi Knoebel (German, born 1940) Rote Konstellation, 1975/1985 Medium: Suite of 5 screenprints and pencil on wove paper Dimensions: 102 x 73 cm (40.2 x 28.7 in) Edition of 20: Each ha...

Robert Indiana Pax, Paix, Shalom (The Peace Print), 2004 Silkscreen in 4 colors on rives BFK paper Hand signed, dated, titled and numbered 35/50 in pencil by Robert Indiana on the f...

"Blue Approach #2" - Hand-Augmented Collotype Delicate and layered collotype on both sides of heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of this piec...

Andy Goldsworthy Presentation print for Royal Mail Christmas Stamp Series, 2003 Color photogravure on handmade rag paper with deckled edges 15 × 20 1/4 inches hand signed lower right...

Hans Hofmann Composition in Blue, 1952 Color silkscreen with unique hand painted gouache additions Hand signed and numbered 76/120 on the front in ink (each example is a unique variant with hand painting) Published by Esther Gentle and 167 Gallery, New York Frame included Dazzling mid century modern (1952) mixed media silkscreen and gouache by Hans Hofmann - one of the most influential artists of the 20th Century. The gouache additions are done by hand, making each work in this series absolutely unique. A superb impression of this extremely scarce, early print with strong colors. According to Reba and Dave Williams (Reba and Dave Williams, American Screenprints, New York, 1987, page 32), Hofmann was persuaded to make this print by Esther Gentle (who later married Abraham Rattner), his student at the time, who was starting to publish screenprints reproducing well-known artists' paintings. Unlike other screenprints by Abstract Expressionist artists, Hofmann's is an original work which does not reproduce a painting. An unusual feature of Composition in Blue is that the blue background varies; the artist authorized different color mixtures and strengths for each example in the printing of this particular silkscreen (Williams, page 32). Measurements: Work: 16⅞ by 15 inches Framed: 24⅝ by 21¼ inches HANS HOFMANN (1880-1966) Hans Hofmann (1880–1966) is one of the most important figures of postwar American art. Celebrated for his exuberant, color-filled canvases, and renowned as an influential teacher for generations of artists—first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of Abstract Expressionism. Between 1900 and 1930, Hofmann’s early studies, decades of painting, and schools of art took him to Munich, to Paris, then back to Munich. By 1933, and for the next four decades, he lived in New York and in Provincetown. Hofmann’s evolution from foremost modern art teacher to pivotal modern artist brought him into contact with many of the foremost artists, critics, and dealers of the twentieth century: Henri Matisse, Pablo Picasso, Georges Braque, Wassily Kandinsky, Sonia and Robert Delaunay, Betty Parsons, Peggy Guggenheim, Lee Krasner, Jackson Pollock, and many others. His successful career was shepherded by the postwar modern...

Katherine Bernhardt Save the Amazon, 2019 12+ color screenprint on 100% cotton Don Bosco 250 gram paper with deckled edges Signed, titled, dated and numbered 65/100 in pencil on the ...

Walter Rogalski White Claw, 1952 Engraving on antique-white laid Homere paper Hand signed, numbered 6/25, dated and titled on lower front ; affixed to original matting Publisher The ...

Judith Rothschild Untitled, from the Long Point Gallery Portfolio, 1988 Woodcut on paper Hand signed, numbered 22/30 and dated on lower fr...

Nora Speyer Untitled, from the Long Point Gallery Portfolio, 1988 Lithograph on paper with deckled edges Hand signed, numbered 22/30 and dated on lower front 22 × 15 inches Unframed Hand signed, numbered 22/30 and dated on lower front Publisher: Long Point Gallery, Inc., Provincetown, Massachusetts; Printer: Bruce Porter from Trestle Editions Limited, New York Rarely to market, this stunning 1988 woodcut was created by Nora Speyer as part of a portfolio produced for sale by Long Point Gallery, an artist's cooperative in Provincetown, Massachusetts. Superb provenance as it is was acquired from the original Long Point Portfolio. This will be the first time the work will be removed from the portfolio. It is hand signed and numbered from a very small edition of only 30; it is in fine condition, unframed and never framed, and housed in the original portfolio box, with the original colophon page, which also included works by 11 other artists. For reference and provenance we have included an image of the colophon page from the complete portfolio. About Nora Speyer: The most exciting place to me is where I can communicate with the greatest number of artists. I can't live without some artists around. I'm not saying artists are likable. They can be very objectionable, but they are still my world. Nora Speyer Born in Pittsburgh, Speyer enrolled at Temple University's Tyler School of Art when she was sixteen. It was there she became roommates with Lillian Lent...

Varujan Boghosian Untitled, from the Long Point Gallery Portfolio, 1988 Woodcut on rice paper. Hand signed. Numbered. Printer's Blind Stam...

Norman Akers Tears, 2018 Monotype on paper by renowned native American artist (Osage Indian) Signed and numbered 1/1 Frame included Monotype (unique) Pencil signed, numbered 1/1 and titled in graphite pencil on the front Published by Tamarind Institute, Albuquerque New Mexico with label from Chiaroscuro Contemorary Art, Santa Fe, NM Provenance Tamarind Institute Frame included Measurements: Frame: 18.5" vertical x 15.5" horizontal x .75 inches deth Artwork: 11.5" vertical x 8.5" horizontal Norman Akers (Native American, Osage), b. 1958 Biography Norman Akers was born and raised in Fairfax, Oklahoma. He is a member of the Osage Nation. He received a BFA in Painting from the Kansas City Art Institute in 1982, and a Certificate in Museum Studies from the Institute of American Indian Arts in 1983. In 1991, he received a MFA in Fine Arts from the University of Illinois, Urbana-Champaign. Akers had solo exhibitions at the Lawrence Arts Center, Lawrence, Kansas, Jan Cicero Gallery in Chicago, Illinois, and the Gardner Art Gallery, Oklahoma State University, Stillwater, Oklahoma. He has participated in numerous group exhibitions including, Unlimited Boundaries, The Dichotomy of Place in Contemporary Native American Art, Albuquerque Museum, Albuquerque, New Mexico, Who Stole the Tee Pee...

Henry Pearson FACE, from Portfolio 9, 1964 Color lithograph with deckled edges Signed, titled, and numbered 84/100 in graphite pencil on the front; with publishers' blind stamp 17 1/2 × 22 1/10 inches Publisher Irwin Hollander, with blindstamp Hand Signed and Numbered 84/100 with Irwin Hollander (printer) Blindstamp Unframed Henry Pearson's iconic Pop Art lithograph "Face" from the mid-Sixties is in the permanent Collection of the Museum of Modern Art as well as other public institutions. This Classic Sixties psychedelic designed Op Art lithograph was created as part of the legendary 'Portfolio 9' in 1967 - one of the most influential eras in 20th century art. It was housed in a gray cloth-colored box with maroon paper inner panels and a large maroon "9" designed by Richard Lindner on the cover. Portfolio 9 featured nine of the most important artists of the era, representative of the three major trends: Pop Art, Minimalism and Abstract Expressionism: Roy Lichtenstein, Saul Steinberg, Richard Lindner, Robert Motherwell, Henry Pearson, Louise Nevelson, Sam Francis, Willem de Kooning- and Ellsworth Kelly. The Introduction to the portfolio was written by Una E. Johnson, Curator of Prints & Drawings, The Brooklyn Museum. Johnson wrote in 1967 for the colophon page: "The artists were selected to demonstrate the great diversity and character of lithography in the United States today... the dialogue of diverse forms and many faceted idioms that compose this graphic journal mirror the eloquence and delight the strengths and caprices of a period. Furthermore, they reflect in fine measure the creative achievements of artists attuned to their time." The lithograph offered here has superb provenance: it comes directly from 'Portfolio 9', numbered 84/100. This is the very first time since 1967 that this hand signed & numbered print will be separated from the original portfolio presentation box. According to the description of this print in the catalogue raisonne, "Organized as a celebration of Irwin Hollander's collaboration with American artists working in the medium of lithography, the Portfolio 9 is a compendium of images by nine of Hollander's artist collaborators. Henry Pearson Biography: Henry Pearson was born in Kinston, North Carolina in 1914. He studied art at the University of North Carolina where he received his B. A. and later at Yale University where he received an M. F. A. Pearson spent over eleven years in the army during and after WWII. On one tour of duty in Japan he was assigned to interpret topographical maps due to his past training in Theatrical Set Design. He returned to Japan on another tour after the war in order to immerse himself more fully in the culture. Pearson returned to the United States in 1953 and enrolled at the Art Students League in New York where he studied with Reginald Marsh. The Op-Art Movement was beginning to gain popularity and Pearson...

Anish Kapoor Untitled, from 15 Etchings (from the Equitable Assurance Gallery collection), 1996 Etching on Zerkall paper Pencil signed and numbered 21/30 on the front; bears embossed...

Accidents, Injuries and other Calamities poster Judy Chicago (Hand signed and inscribed), 1988 Offset lithograph on thin board (signed and inscribed by Judy Chicago) 26 × 20 1/4 inch...

Alexander Calder McGovern for McGovernment (Signed by BOTH Alexander Calder and George McGovern), 1972 Lithograph on wove paper with deckled edges. Hand signed and Numbered by Calder, and inscribed and signed by George McGovern. Publisher's blind stamp. Pencil signed and numbered 184/200 Published by Styria Studio, New York (with blind stamp) Bibliography: George McGovern & the Democratic Insurgents: The Best Campaign and Political Posters of the Last Fifty Years (University of Nebraska Press), Hal Elliot Wert Frame included Framed in a mus...

Sol Lewitt Benefit Concert (Hand signed by Sol Lewitt, Philip Glass and Meredith Monk), 1978 Offset lithograph 19 1/2 × 21 1/2 inches Limited Edition of 75 Hand signed by Sol Lewitt ...

Alexander Calder McGovern for McGovernment, 1972 Lithograph on wove paper Pencil signed and numbered 194/200 on the front Frame included In 1972, Alexander Calder was commissioned by...

Richard Anuszkiewicz The Paris Review, 1965 Silkscreen on Beckett 90 lb. Hi-White paper with vellum finish 31 × 26 inches Edition 23/150 Signed lower left; dated and numbered lower r...

Judy Chicago Almost Born, 1983 Lithograph on Rives tan BFK paper (accompanied by original documentation sheet - also hand signed by Judy Chicago) Signed, titled, dated and numbered 6...

Patti Smith at the Bowery Ballroom (Hand Signed), 2000 Offset Lithograph poster. Hand Signed by Patti Smith Hand signed in ink by Patti Smith lower front 20 × 14 inches Unframed Hand...

Judy Pfaff Squash, 1985 Woodcut on wove paper Signed, numbered 78/85, dated and titled on the front with artist's and publisher's blind stamps. 21 3/4 × 29 3/4 inches Publisher Cente...